In London, the Bank of England by Sir John Soane, the British Museum by Robert Smirke (a pupil of Soane’s), the University by Wilkins, were all built early in this century, as were the Fitzwilliam Museum, Cambridge, and the High School at Edinboro, magnificent colonnades adorning the front of each. St. Pancras Church, in London, has a spire of superimposed copies of the Temple of the Winds at Athens—each smaller than the one beneath it,—and there are side porches which reproduce the caryatid portico of the Pandroseum. But the most successful building in England which was designed upon Greek lines is St. George’s Hall, Liverpool, which has a central hall lit from above; at either end is a court-room, and beyond, at one end, is an Odeon, or Music Hall. The taste for classical design gradually declined in England, and a new cult was assiduously propagated through the writings of Pugin, Brandon, Rickman, and Parker, whose text was that classicism represented paganism, and this, together with the remodeling of Windsor Castle, in 1826, by Sir Jeffrey Wyatville, caused a general interest in the revival of Gothic architecture; for some time, however, much illiterate work was done in the adjustment of old forms to new conditions. Throughout the last half of this century, the battle of the styles has been maintained by the adherents of the differing schools with varying success, and, although there may be notable examples to the contrary, it has virtually resulted in the adoption of Gothic designs for ecclesiastical buildings, conditions being much the same as formerly for these structures; whereas, for secular buildings, with ever-changing requirements, the classic or the Renaissance, which has shown even greater pliability, has been considered more appropriate. Among those whose success has been greatest in Gothic work may be mentioned Sir Charles Barry, who was knighted for designing the Parliament Buildings, begun in 1840 and completed twenty years later; George Gilbert Scott, who did the Assize Courts, in Manchester, and New Museum, Oxford; George Edmund Street, whose Law Courts in London are so full of defects in plan yet so excellent in details; Alfred Waterhouse, whose interesting (Norman) Museum of Natural History gave substantial encouragement to the use of terra cotta; T. G. Jackson, the author of much collegiate architecture at Oxford and elsewhere; J. L. Pierson, the designer of eight churches in London; William Burgess, Sir Arthur Blomfield, and James Brooks, all well known for the high character of their work, as is also J. D. Sedding, whose broad sympathies and refined spirit ranked him as one of the most talented men of his day. The first international exposition was held in London in 1851, and the single building in which it was contained was perhaps the most marvelous exhibit. It was designed by Sir Joseph Paxton, and was the first example of the use of iron and glass on a scale of such gigantic proportions.